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Since the 1990s I have been very involved with fighting the military "don't ask don't tell" policy for gays in the military, and with First Amendment issues. Best contact is 571-334-6107 (legitimate calls; messages can be left; if not picked up retry; I don't answer when driving) Three other url's: doaskdotell.com, billboushka.com johnwboushka.com Links to my URLs are provided for legitimate content and user navigation purposes only.
My legal name is "John William Boushka" or "John W. Boushka"; my parents gave me the nickname of "Bill" based on my middle name, and this is how I am generally greeted. This is also the name for my book authorship. On the Web, you can find me as both "Bill Boushka" and "John W. Boushka"; this has been the case since the late 1990s. Sometimes I can be located as "John Boushka" without the "W." That's the identity my parents dealt me in 1943!

Then Brakel presented his own organ transcriptions of
variations by Dick Hyman on Shenandoah. The original music was by Gary
Geld. I saw a stage performance of the
musical at Northpark in Dallas in the spring of 1979, shortly after moving
there.

Brakel followed with the familiar and somewhat lighthearted
Trio Sonata in G, BMV 530, by J.S. Bach. This had been a favorite of Virgil
Fox.

Then he concluded the first half with the main work of the
program, the Introduction, Passacaglia and Fugue in E-flat Minor (1916, in the same key as the Prokofiev Op. 111) by Canadian
composer Healey Willan (1880-1968), a massive (20 minutes) piece resembling
Liszt but with a bit of Scriabin-like harmonies thrown in. The dissonant harmonic effects are weird –
maybe the Mystic Chord gets used. The
Passacaglia slows back down in a major key before introducing the Fugue. Somehow the ambiguous but then suddenly triumphant ending puts me back into the world
of “The Divine Poem”. It may be that, as with piano, virtuoso pieces in signatures that use all the black keys are easier to play.

The second half started with the Variations and Fugue on
“God Save the Queen” (or “My Country Tis of Thee”) by Max Reger.

The rest of the program was much lighter. He played two
pieces by Nicholas de Grigny (1672-1703), “Dialogue sur les grandes jeux” (“Dialogue
on the major games” – probably boules) and “Recit de tierce en taille” (“Third
tale in size”).

He then played scherzo by Louis Vierne (“Impromptu”), Percy
Whitlock (from “5 Short Pieces”) and “Etincelles” (“Sparks”) by Moritz Moszkowski,
transcribed by Horowitz, Volos and Brakel himself. He played two of the Six
Etudes by Jeanne Demessieux, “Notes Repetees” and “Octaves”. His encore was “Amazing Grace”.

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